ベルギーインディフォーク最重要バンドと称されるDAN SAN! 極上の2ndアルバムが完成!

Cullen Omori knows it’s a false cliché to say there are no second acts in American lives, but, after the 2014 breakup of his acclaimed band the Smith Westerns, living that cliché was his greatest fear. His solo debut, New Misery, is a direct challenge to that anxiety: an album that goes beyond the glam punch of the Smith Westerns to new sounds, new sources of inspiration, and greater self-awareness. “I had this overwhelming feeling that perhaps the apex of my life as a musician and as an individual would be relegated to five years in my late teens/early 20s,” says Omori, who launched into the music industry when the Smith Westerns, who started in high school in Chicago, became fast-rising indie stars. “This fear really forced me to work hard as to not see the Smith Westerns as an end but as a point along a bigger trajectory.” While New Misery grew out of a difficult personal and professional time for Omori, he says the title reflects “not so much the distress that comes with failure, but the troubles and complexities that come with any type of success. No matter what you get you're going to want more, you're going to want something different. That’s the catch.” Synths play a much larger role in Omori’s new music than in the Smith Westerns’ guitar-fueled rock, as do a wide range of influences including Roxy Music, INXS, Spiritualized, Wilco, Garbage, Hall & Oates, Kate Bush, U2, and Sparks. There’s also a more deliberate pop streak, inspired by the top-40 radio that would play while Omori worked at a medical supply company cleaning stretchers and wheelchairs. Along with Omori, New Misery features additional bass and keyboards from Ryan Mattos, drums from Loren Humphrey, and James Richardson on guitar. But unlike with the more distributed roles within the Smith Westerns, Omori wrote, played, and oversaw nearly every part of the new album, beginning a true new chapter of his long-term creative growth.

San Francisco based group, featuring Meg Baird (Espers), Noel Von Harmonson (Comets on Fire, Six Organs of Admittance, Sic Alps, The Lowdown), Ethan Miller (Comets on Fire, Howlin’ Rain, Feral Ohms), and Charlie Saufley (Assemble Head in Sunburst Sound). Heron Oblivion’s origins date to 2013 in SF’s Bayview district, where its four members– fueled by a love of 60s/70s scuzz and commune jams, folk rock, noise, and P.S.F. Japanese underground—would get together for what Miller describes as “blistering, extended free jam sessions.” The four musicians realized that their initial chemistry (which was strong from the outset) was undeniable and it’s vision unified. Heron Oblivion was born. Ultimately, Heron Oblivion fused song craft to its improvisational leanings. What materialized is a mesmeric compilation of English folk rock and earthy West Coast psychedelia spiked with feedback and explosive dissonant elements. The sum of these elements will make up their Sub Pop debut.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they’re making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.
Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it’s the genuine use of tricks and delays that lift these improvisations above the ordinary and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.
The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other’s phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.

Trembling Air is the duo’s second release for Other People, following last year’s The Free Fall Inspirations. According to the label, the 12 tracks are “an experiment to understand the origin of music and its basic primordial role when there weren’t any particular word for it, only the ritual act of practicing it as part of everyday life.”

"Escapism has a lovely, tender feel to it. Running by the Roads, Running by the Fields introduces a piano that dances gracefully on the tips of its toes. It's the sound of an early morning in the coldest season. The cello is forever dressed in gold, and the piano sustains her. But like life in general, it's also a frail and fragile sound. It's something to savour. Extremely delicate lines play on as the piano accompanies her on her path. Sweeping, soft phrases come to light, and generally the tone is gentle and soporific. Feathers is lighter. The cello drifts in and out, pausing for breath now and again. The piano passages pick up speed, and as they do the whole piece drives forward. It presses in, and then backs out and away. The cello, played by Julia Kent, has a tender, emotional depth; it's trying to get to something deeper. The piano and celeste, played by David Wenngren, do more than just support the cello. Every second is a single, precious moment. Library Tapes knows this every note, every shudder of the bow, is played as if it's the last. Like a piece of dusty jewellery, the music sparkles, but its colour has been dulled. Achieving Closure helps to banish the shadows. Chimes ring out as the cello swoops and swoons, bringing with it a light as bright as the earlier sun. With its delayed hope, it pierces the frosty glass of the soul." -Fluid Radio

是 Brit pop 吗？是 power pop 吗？为什麽采样别人的歌曲在自己的歌里。上个月，一个美国圣地亚哥的乐团 TV girl 把自己的新 EP 放在网上给歌迷们下载。因为歌曲真的很好听，风格也很独特，这张 EP 马上在独立音乐界中造成了轰动。连 Pitchfork 都把他们的歌 “if you want it” 列为 “这个月 Pitchfork 推荐的好歌”。但是，这个乐团到底是谁啊？没人知道，而到目前为止也没有音乐杂志能够获得他们的访问。
这个乐团的特色是他们在自己的歌曲里采样了其他艺人的歌曲，像 Tood Rundgren 的 “Hello It’s Me” 和 Neil Young 的 “Bird”，而乐队的风格是非常舒服的 power pop 和 indie pop。 如果你喜欢 Jens Lekman 或是英国乐队 Shack， 你一定不能错过他们。

After three and a half years, award-winning artists Macklemore & Ryan Lewis return on February 26th with This Unruly Mess I’ve Made. The thirteen track LP includes platinum selling single “Downtown” (featuring Kool Moe Dee, Melle Mel, Grandmaster Caz, and Eric Nally), as well as previously unavailable “Growing Up” (featuring Ed Sheeran). The long awaited follow-up to the acclaimed debut LP The Heist, This Unruly Mess I’ve Made was largely recorded over the course of a year in the wilderness of the Pacific Northwest. “What I couldn’t find in a hotel room, on the road or in Seattle, Ifound in the middle of nowhere” says Macklemore, whose real name is Ben Haggerty. The eclectic, raw, and emotional album is an honest look into the soul of two artists who “needed time to be human again.” It also marks the official release of the stirring “Kevin”, previously performed on the American Music Awards, and featuring Grammy nominated soul crooner Leon Bridges. Accompanying the release will be a World Tour that starts in the US at intimate, legendary venues such as The Grand Ole Opry in Nashville. Following that tour, Haggerty and Lewis head to Europe and then back to the states for arena tours and festivals.

Bloc Party have confirmed details of new album 'Hymns', to be released in January 2016.
The band's fifth album will be released through Infectious Music / BMG and can be pre-ordered now. Fans who do pre-order will receive 'The Love Within' instantly. A deluxe edition featuring extra songs ('Eden, 'Paradiso', 'New Blood' and 'Evening Song') will also be available. The album artwork can be seen above.
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